The mystical paintings of the Herat school, inspired by Attar Nishaburi's Conference of the Birds, created during the Timurid period, contain a wealth of profound spiritual insights. On the other hand, certain mystics of the greater Khorasan mystical tradition, such as Abd al-Rahman Sulami Nishaburi, have left invaluable teachings on practical mysticism and the stages of spiritual journey. One notable example is Sulami’s neglected treatise, “Jawame' Adab al-Sufiya”, which has been analyzed in this study in connection with the painting “Bankrupt who fell in love with the king of Egypt” from “Conference of the Birds”, housed at the Metropolitan Museum. This research aims to identify correlations between Sulami’s teachings and the behaviors, actions, and overarching narrative of the painting’s characters. Specifically, it seeks to answer the question: How are Sulami’s practical mystical teachings reflected in the painting? The findings suggest a notable alignment between Sulami’s proposed ethical standards and the conduct, speech, and overall virtuous actions of the positive characters within the narrative. Contrarily, the movements and demeanor of Bankrupt stand in stark opposition to Sulami’s principles. This contrast highlights that both Sulami and Attar, shaped by the mystical tradition of greater Khorasan, despite being separated by several centuries, address common themes that have remained largely unchanged over time. This consistency stems from their reliance on shared foundational sources such as the Quran and the teachings of Prophet Muhammad ﴿ﷺ﴾. This qualitative study adopts a descriptive-analytical approach, supported by library references (physical /digital), to thoroughly examine and interpret the painting.